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812 


LENA  RIVERS 


By  MARIE  DOR4N 

This  popular  and  successful  comedy  drama  is  now  issuec1 
in  a  copyrighted  edition.  It  contains  all  the  plots  and 
complete  stage  directions,  is  arranged  for  5  male  and  4 
female  characters,  runs  2%  hours  and  has  2  simple  in- 
terior: scenes. 

LOW  ROYALTY 
Price  35  cents  per  copy 


Kathleen  Mavourneen 

New  Copyrighted  Version.  This  well-known  Irish  favor- 
ite entirely  revised  and  rewritten  by  Marie  Doran,  and 
so  simplified  in  stage  settings  that  it  can  be  readily  pro- 
duced by  amateurs  and  stock  companies.  Low  Royalty 
for  Professional  Performances.  8  male  and  3  female 
characters.  Runs  2  hours;  1  interior  and  1  exterior 
scene. 

Price  25  cents  per  copy 


Fitzgerald  Publishing  Corporation 

Successor  to 
DICK  &  FITZGERALD 

18  Vesey  Street,  New  York 


Oyer  the  Garden  Wall 


H  fIDustcal  Burlesque  in  ©ne  Bet 


BY 

WILL  D.  FELTER 

AUTHOR  OF  "  THE  SWEET  FAJMH/Y,*'  "  THE  WIDOW'S  PROPOSALS. 
"A  BUNCH  OF  ROSES,"  ETC. 


Copyright,  1897,  by  Harold  Roorhach 


FITZGERALD  PUBLISHING  CORPORATION 
successor  to 
Dick  &  Fitzgerald 
18  Vesey  St.,  New  York 


"OVER  THE  GARDEN  WALL." 


CAST  OF  CHARACTERS. 
Regixai-d  De  Tones—  Manager  and  billposter. 

Evangeline  De  Jones. — His  wife  ;  the  most  beautiful  woman  in 
America. 

Uncle  Reuben  Wayback. — 'Xuff  said. 

M'lle  Arabella  Victoria  Maud. — An  imported  living  picture  model 
Mme.  Paulina  Squallina. — The  great  French  song-bird. 
Little  Willie  Winkle. — An  infant  prodigy. 

Cynth.a  Sntggins. — From  Pine  Valley,  who'just  loves  the  "dear  men. 
Bum  Bum, 

Pretty  Thing,  V  Three  little  maids  from  school, 
Peek-\-boo, 

Lily  Ann  Longtree. — England's  "Jersey  Lily." 
Chorus. — Three  ladies  and  three  gentlemen. 
Two  Pages. 


Time  of  Representation. — One  hour. 


SCENE. 

The  Garden  Wall — About  five  feet  out  from  the  wall  of  the  stage, 
place  two  upright  pieces  of  wood  about  twelve  feet  apart.  Nail  solid 
top  and  bottom    Five  feet  from  the  floor  nail  a  piece  of  scantling  from 

Eost  to  post,  and  on  that  tack  the  wall,  which  is  made  of  dark  red  cam- 
ric,  painted  in  white  stripes  to  represent  bricks.  Make  the  wall 
twelve  feet  long  (or  longer  if  the  stage  be  wide)  and  five  feet  high. 
Draw  the  cloth  down  tight  and  tack  to  the  floor.  Trim  the  posts  and 
back  wall  with  large  branches  of  willow  or  evergreen.  Running  vines 
can  be  tacked  to  the  scantling  and  hang  down  over  the  wall.  Back  of 
the  wall  and  close  to  it,  place  three  boxes,  each  eighteen  inches  high, 
and  lay  a  heavy  plank  across  them  to  form  the  platform  for  the  chorus 
and  performers  to  stand  on.  Drape  each  side  of  the  posts  with  cur- 
tains to  the  side  walls.  The  burlesque  can  be  given  without  a  front 
curtain,  but  it  is  better  where  one  is  used. 


PROPERTIES. 

Chair  in  front  of  wall,  L.,  lor  Evangeline.  Large  bow  and  arrow. 
Lighted  lantern.  Hand  mirror.  Powder  puff.  Fan.  Shawl.  Small 
curtain  or  sheet  for  the  pictures.  Old  boots  and  shoes  for  opening 
chorus. 


3 


4 


"OVER  THE  GARDEN  WALL,7* 


COSTUMES. 

Reginald  De  Jones. — Black  coat ;  white  collar.  Black  tie.  Long 
hair  and  high  hat. 

Evangeline  De  Jones. — Large  figured  calico  dress  looped  up  over 
white  or  colored  skirt ;  big  hoops.  Big  bonnet  trimmed  with  flowers 
and  feathers.   Very  grotesque. 

Uncle  Reuben  Wayback. — Dark  pants.  Linen  coat.  Dark  shirt 
Paper  collar.    Gray  wig  and  chin  whiskers.    Straw  hat.  Spectacles. 

M  lle  Arabella  Victoria  Maud.— A  tall,  slender  girl.  Hair  done 
high  on  head,  with  two  cork-screw  curls  in  front  of  ears.  White  waist 
with  tight  sleeves. 

Paulina  Squallina. — Any  odd  bright  waist,  lace  trimmed,  and  any 
quantity  of  jewelry.    Feathers  in  hair. 

Willie  Winkle. — Very  tall  man.  Smooth  face.  Short  pants. 
Calico  waist.  Yellow  hair.  Little  boy's  cap.  Must  appear  to  have 
outgrown  his  clothes. 

Cyntha  Sniggins. — Any  old-fashioned  dress.  Bonnet  and  cork- 
screw curls.    Fan.   Very  giddy. 

Bum  Bum,  Pretty  Thing,  Peek-a-boo. — Three  men  or  boys  dressed 
in  calico  dresses  ;  hoops  ;  sun-bonnets  or  shakers  ;  palm-leaf  fans. 

Lily  Ann  Longtree. — Young  lady.  Light  dress,  trimmed  with  ail 
kinds  of  colored  ribbons.  Hair  in  curls  or  braids.  Over-dressed,  and 
in  very  bad  taste. 

Chorus. — Ladies. — Blue  and  white  gingham  pinafores  with  long 
sleeves.  Large  straw  hats  tied  under  chin  with  bright-colored  ribbons. 
Gentlemen. — Blue  checked  blouses.    Big  straw  hats. 

Pages. — Bright  colored  waists.  High  fools'  caps  made  of  white 
paper. 


Note. — Any  number  of  recitations  and  songs  can  be  used  in  the  per- 
formance of  "  Over  the  Garden  Wall,"  and  the  order  of  the  programme 
can  be  changed  to  suit  the  occasion.  Several  parts  can  be  played  by 
the  same  person,  and  some  can  "double  "  with  the  chorus  if  necessary. 


OVER  THE  GARDEN  WALL." 


SCENE. — The  garden  wall.  Branches  of  willow  or  ever* 
green  at  sides  and  back  of  wall.  At  rise  of  curtain  the 
prelude  to  the  song  "  Over  the  Garden  Wall  "  is  played  by 
the  pianist.  Reginald  De  Jones  appears  back  of  wall 
in  centre. 

Reginald.  Ladies,  gentlemen  and  all  fellow-citizens  assem- 
bled before  me  to-night, — I  take  great  pleasure  in  introducing  to 
your  notice  the  greatest  travelling  aggregation  of  the  day.  It 
has  taken  years  of  labor  to  form  this  gigantic  company  of 
"  Stars,"  and  there  has  never  been  seen  such  an  array  of  beauty, 
grace  and  talent  combined  as  you  will  find  in  this  company. 
It  is  very  seldom  that  we  ever  play  in  a  town  of  this  size,  but  last 
week  when  we  were  playing  in  Blueberry  Corners,  (or  name  of 
some  village  near  by)  we  located  this  town  on  the  map  and  de- 
cided to  make  it  our  next  stand,  provided  we  could  get  a  suffi- 
cient guarantee  from  the  management  of  this  house.  We  are 
the  only  company  on  the  road  travelling  on  what  is  now  the  popu- 
lar mode  of  locomotion — namely,  the  "  byke  "  ;  and  could  you 
see  us  when  we  start  out  you  would  discover  that  we  all  wear 
bloomers.  Now,  I  am  the  manager,  proprietor  and  bill-poster 
of  this  organization,  and  my  wife,  Evangeline,  is  the  treasurer. 
I  wanted  that  office  myself;  but  as  she  furnished  the  money  to 
start  us  out,  she  insists  on  handling  all  the  cash.  She  also  has 
full  charge  of  the  programme  ;  and  if  you  will  give  us  your  kind 
attention  we  will  now  proceed.  {Calls,!,.)  Evangeline,  my  love  ! 

Evangeline  {outside,  l.).    Yes,  Reginald,  my  dear. 

Reginald.    You  may  appear  in  front  of  the  wall. 

[Evangeline  ENTER S,  L. 
This  fair  creature,  ladies  and  gentlemen,  is  considered  by  the 
press  and  the  public  to  be  the  most  beautiful  woman  before  the 
American  footlights  to-day.  (To  her.)  Evangeline,  my  love, 
salute  the  ladies  and  gentlemen,  especially  the  gentlemen. 

[She  bows  two  or  three  ti?nes. 
Now,  you  may  proceed  with  the  programme  while  I  go  out  and 
look  after  the  proceeds  of  the  box  office. 

[EXIT down  behind  the  wall, 

5 


6 


"OVER  THE  GARDEN  WALL* 


Evan.  (c).  Ladies  and  gentlemen, — You  are  no  doubt  assem- 
bled before  me  to-night,  expecting  to  hear  an  ordinary  Metropol- 
itan Concert  Company  ;  but  you  are  not,  decidedly  not.  We  do 
not  for  a  moment  class  ourselves  with  such  talent  as  you  will 
usually  find  in  that  class  of  entertainments.  Our  artists  are 
selected  with  a  view  to  pleasing  the  'public,  and  we  endeavor  to 
secure  only  people  of  fine  figure  and  handsome  face,  as  you  will 
soon  see.  I  will  not  dwell  longer  on  the  merits  of  the  company, 
but  will,  with  your  kind  attention,  proceed  with  our  programme, 
which  will  be  opened  with  a  song  by  the  whole  chorus.  If 
there  are  any  bald-headed  men  or  dudes  in  the  audience,  please 
do  not  wink  at  the  chorus-girls,  for  they  are  very  susceptible. 
{Calls.)  Are  you  ready  ? 
Chorus.  Ready ! 
Evan.  Appear. 

[Chorus  of  six  appear  back  of  wall  during  the  pre- 
lude on  the  piano,  and  sing  the  opening  song. 
Keep  the  hands  and  arms  at  the  sides,  and  on  the 
hands  of  each  have  an  old  pair  of  boots  or  shoes. 
One  or  two  can  put  long  white  or  colored  hose  on 
arms  and  low  shoes  on  /lands.  At  the  close  of  the 
third  chorus,  all  step  down  backward  off  the  plat- 
form behind  the  wall,  and  all  throw  the  arms  above 
the  head,  being  careful  to  keep  the  head  down  be 
hind  the  wall.  The  effect  is  very  comical  from  the 
front. 

Opening  Chorus  :  »  Over  the  Garden  Wall." 
I. 

We're  the  jolliest  folks  you  ever  did  see, 

Over  the  garden  wall  ; 
We  all  are  handsome  as  handsome  can  be, 

Over  the  garden  wall. 
Perhaps  when  you  see  how  happy  are  we, 

You  will  be  glad  that  we  gave  you  a  call ; 
We'll  try  hard  to  please 
While  the  soft  evening  breeze 

Blows  over  the  garden  wall. 
CHORUS.    Over  the  garden  wall, 

The  jolliest  folks  of  all, 

There  never  was  yet 

So  jolly  a  set, 

And  you  can  bet 

You'll  never  forget 

The  night  that  we  together  met, 

Over  the  garden  wall. 


«OVER  THE  GARDEN  WALL" 


7 


II. 

We'll  all  appear  on  the  other  side, 

Over  the  garden  wall  ; 
Perhaps  some  fellow  can  choose  a  bride 

Over  the  garden  wall, 
Or,  if  any  young  girl  should  chance  to  see 
A  man  whose  wife  she's  willing  to  be, 
Just  wink  your  eye,  we'll  meet  you  at  three. 

Over  the  garden  wall. 

Cho.    Over  the  garden  wall,  etc. 

III. 

Now,  other  people  will  soon  appear 

Over  the  garden  wall  ; 
We  want  you  all  to  give  them  a  cheer 

Over  the  garden  wall, 
We  know  you'll  agree  that  we  sure  will  be 

The  liveliest,  best  folks  of  all, 
So  now  we'll  proceed  our  programme  to  read 
Over  the  garden  wall. 

Cho.    Over  the  garden  wall,  etc. 

[Chorus  disappears  behind  wall, 
Evan.     Uncle    Reuben  Wayback  will    now  electrify  the 
audience  with  one  of  his  popular,  pathetic  tunes.  {Calls.) 
Uncle  Reuben  ! 
Uncle  R.    Ready ! 

Evan.    Appear.  [Be  appears  back  of  wall,  C. 

Uncle  R.  Hello,  everybody  !  Wal,  gosh  all  hemlock  !  I 
wa'n't  expectin*  tew  see  so  many  nice  lookin'  gals  here  when  I 
come  up.  How  air  you  all,  anyway  ?  I  never  see  so  many 
purty  gals  in  all  my  life  afore.  I  tell  yew,  yew  all  make  me 
feel  young  ag'in.  I  remember  when  I  was  a  young  feller,  there 
wa'n  t  a  gal  within  fourteen  mile  o*  Blueberry  Corners,  whar  I 
was  raised,  that  I  didn't  know  ;  and  talkin'  about  your  sparkin' ! 
Why,  {local  name  of  some  popular  fellow,  or  "  none  of  the 
young  fellers  here")  ain't  in  it  with  me.  I  know  I'm  gittin* 
old,  but  when  I  see  a  purty  gal  I  begin  to  feel  just  as  young  as 
I  used  ter  be.  (Sings.) 

Song  :  "  As  Young  as  I  Used  to  Be'* 
I. 

Kind  friends,  come  listen  to  my  song, 
I'm  old  and  I  won't  detain  you  long  ; 
I'm  eighty-four,  and  quite  a  dude, 
And  young  folks  call  me  Uncle  Rube. 


8 


"OVER  THE  GARDEN"  WALL* 


My  hair,  once  black,  has  all  turned  gray, 

But  what's  the  odds  while  I  feel  gay  ? 

How  I  could  sing  a  song  of  glee 

If  I  was  as  young  as  I  used  to  be. 
CHORUS.    Fy  de  I,  de  hap  te  do, 

How  I  love  to  sing  for  you  ! 
How  I  could  sing  a  song  of  glee 
If  I  was  as  young  as  I  used  to  be  ! 

II. 

When  I  was  young  I  knew  life's  joys, 
But  now  I'm  old,  yet  I'm  one  of  the  boys  ; 
I  could  tell  a  story,  or  sing  a  song, 
With  any  young  fellow  that  came  along. 
I  could  throw  a  ball  or  crack  a  joke, 
And  never  forgot  my  pipe  to  smoke. 
I'm  a  gay  old  ««  sport  "  you'll  all  agree  ; 
1  feel  just  as  young  as  I  used  to  bec 
Cho.    Fy  de  I,  de  hap  te  do,  etc. 

III. 

When  I  was  young  and  in  my  prime, 
I  courted  the  girls  'most  all  of  my  time; 
I'd  take  them  out  each  day  for  a  ride,, 
And  always  kept  them  by  my  side. 
I'd  hug  and  kiss  them  just  for  fun, 
And  I  haven't  forgot  how  it  is  done, 
So  if  any  girl  here  is  in  love  with  me 
She'll  find  me  as  young  as  I  used  to  be„ 
Cho.    Fy  de  I,  de  hap  te  do,  etc. 

{After  song,  he  disappears  behind  the  wal'L 

Evan.  M'lle,  Arabella  Victoria  Maud,  one  ol  the  hand- 
somest and  greatest  models  of  the  present  century,  has  been 
secured  at  great  expense — we  have  to  pay  her  two  dollars  a 
week,  and  washing  thrown  in — to  pose  in  a  series  of  living 
pictures.  In  the  last  town  we  did  a  poor  business,  and  the 
landlord  of  the  hotel  where  we  stopped  was  mean  enough  to 
keep  our  99-cent  frame  and  all  Arabella's  clothes, — or,  that 
is,  all  she  wore  on  that  "  suspicious  "  occasion.  So  here  she 
will  be  forced  to  pose  in  her  latest  "  Del  Sarte  "  gown,  and 
without  the  frame.    {Calls.)    Arabella  Victoria  Maud  ! 

Arabella.    Ready.  [Soft  music  on  piano. 

Evan.    Appear.  [Arabella  appears  c,  back  of  waw. 

This  superb  creature,  ladies  and  gentlemen,  is  considered  th» 


"OVER  THE  GARDEN  WALL!' 


9 


most  beautiful  woman  in  America — present  company  always 
excepted  {meaning  herself).  We  picked  her  up  in  Hoboken. 
Salute  the  ladies  and  gentlemen,  my  dear,  (aside)  especially  the 
gentlemen.  [Arabella  bows  right  and  left. 

{Aloud.)    The  pages  in  attendance  will  now  appear. 

[Pages  appear  on  either  side  of  Arabella,  with  a 
curtain  about  the  size  of  a  sheet.  Each  takes  hold 
of  the  upper  comers  and  raises  it  up  in  front  of 
Arabella  until  she  is  ready  for  the  picture  ;  and 
then  they  lower  it  behind  the  wall.  After  the  pic- 
ture, they  raise  it  until  she  changes.  Repeat  same 
as  before. 

Now,  the  first  living  picture  we  will  present  is  one  you  are  all 
familiar  with.    It  is  "  Liberty  Frightening  the  World." 

[Picture.  Red,  white  and  blue  thrown  around 
shoulders.  She  stands  facing  the  audience,  and  in 
right  hand  holds,  high  above  head,  an  old  lighted 
lantern. 

The  next  picture  will  be  a  copy  of  an  original  painting  entitled 
"  The  Coquette."    Mark  how  very  coquettish  she  is. 

[Picture.  Fan  open  and  held  at  point  of  chin  s 
head  on  one  side  ;  smiles.  Front  view. 
We  will  now  be  favored  with  a  picture  copied  from  a  magnifi- 
cent painting  by  Michael  Angelo,  entitled  "Little  Cupid."  We 
are  sorry,  but  we  left  Arabella's  wings  behind  us,  and  you  must 
imagine  you  see  wings. 

[Picture.  Stand,  side  view,  in  white  gown.  Very 
large  bow  and  arrow,  pointed  right. 
The  next  will  be  "  An  Artist  at  Work."  This  is  rather  an  orig- 
inal picture  with  Arabella  Victoria  Maud,  for  it  is  copied  from 
a  snap  shot  of  herself  that  a  kodak  fiend  caught  of  her  one  day 
last  summer. 

[Picture.     Faces  left.     Hand  mirror  in  left  hand 
and  powder  puff  in  rig  Jit. 
We  will  now  be  favored  with  a  copy  of  "  Venus,  in  Winter." 

[Picture.    Front  view.     Over  head  and  shoulders, 
and  gathered  tight  around  just  to  show  the  face,  is 
a    large    shawl.     Comical  expression    on  face. 
NOTE:  Other  pictures  may  be  added  to  suit  the 
performance.    After  the  pictures  all  except  Evan- 
GELINE  disappear  behind  wall. 
Evan.    Madame  Paulina  Squallina,  the  nation's  favorite  so- 
prano, who  has  lately  made  the  great  "  hit  "  of  her  life  in  a  song 
specially  written  for  her,  will  now  sing  for  you.    Some  think 
she  will  in  time  be  able  to  reach  higher  than  Patti  or  even 
Yaw.    (Calls.)    Madame  Paulina  Squallina,  are  you  ready  ? 
Madame  S.    Ready ! 


"OVER  THE  GARDEN-  WALL.'" 


Evan.  Appear. 

[Madame  S.  appears  c,  behind  wall,  and  sings  two 
verses  of  "  Ben  Bolt."    Note:  This  can  be  made 
very  funny  by  announcing  her   in    the  role  of 
"Trilby  "  and  having  Evangeline  act  as  "  Sven- 
galli,"  and  at  the  last  line  or  two  letting  the 
voice  break.    Any  other  old  song  can  be  used.  At 
conclusion  Madame  S.  disappears  behind  wall. 
Evan.    Now,  Cyntha  Sniggins,  who  was  born  in  Wiggletown, 
this  state,  a  number  of  years  ago  (I  don't  know  just  when  it  was, 
for  ancient  history  doesn't  relate),  will  now  appear  for  the  first 
time  in  your  town  and  give  you  a  graphic  description  of  her  ex- 
perience in  a  tunnel  where  there  was  a  horrid  man  in  the  case. 
Cyntha  was  a  chorus  girl  with  the  Wiggletown  Opera  Company 
last  season,  and  if  the  young  man  in  the  seventh  row  will  try,  I 
am  quite  sure  he  can  make  an  impression  upon  her.  {Calls.) 
Cyntha,  are  you  ready  ? 
Cyntha.    Ready  ! 
Evan.  Appear. 

Cyntha  (appears  back  of  wall,  centre).  Well !  I  think 
things  have  come  to  a  pretty  pass  when  a  pretty  and  timid  young 
girl  can't  go  out  without  having  all  the  men  and  boys  on  the 
street  make  remarks  about  her.  Why,  just  as  I  came  around 
the  corner,  a  naughty  man  said,  "  Oh,  look  at  that  face," — just 
as  if  my  face  wasn't  as  handsome  as  any  girl's  in  (mentio7i  the 
town  you  are  in).  About  a  block  farther  up  the  street  a  boy 
yelled  out,  "  Man  wanted  !  man  wanted  !  *'  Now,  I  wonder  how 
they  knew  I  wanted  a  man  ?  And  yet  I  do,  and  I've  been  look- 
ing for  one  for  the  last  ten  years,  ever  since  I  was  sixteen  years 
old,  and  I  haven't  found  one  yet.  I  am  sure  I  can't  understand 
why  it  is.  I  am  so  susceptible  to  the  attentions  of  a  young  man, 
and  yet  they  never  seem  to  propose  to  me.  But  I  think  that  I 
have  found  my  fate  at  last.  It  was  one  time  when  I  was  going 
to  Chicago  on  a  crowded  excursion  train.  Now,  just  imagine, — • 
an  unsophisticated  girl  like  me  going  to  Chicago  all  by  myself ! 
I'll  own  'twas  an  awful  daring  thing  to  do  ;  but  I  did  it,  just  the 
same.  The  cars  were  full  when  I  got  in,  and  I  walked  down 
the  aisle  until  I  found  a  seat  with  only  a  man  in  it,  and  I  asked 
him  very  timidly  if  I  could  please  sit  there,  and  he  very  politely 
got  up,  and  I  sat  down,  and  he  went  into  the  smoking  car,  and 
I  didn't  see  him  after  that.  I  sat  there  all  by  myself,  and  was 
iust  hoping  some  nice  young  man  would  come  along,  when  the 
door  opened  and  in  came  one  of  the  handsomest  fellows  you  ever 
saw.  Oh,  he  was  just  too  sweet  tor  anything  !  He  came  down 
the  aisle  and  looked  first  at  the  seat  and  then  at  me,  and  finally 
said,  "  Engaged  ?  "  Well,  for  a  minute  I  didn't  know  whether 
he  meant  me  or  the  seat ;  so  I  just  blushed  and  said,  "  No,  sir." 


"OVER  THE  GARDEN  WALL." 


II 


Then  he  sat  down  beside  me,  and  he  did  seem  so  nice  I  thought 
I'd  like  to  get  acquainted  with  him  ;  and  I  wondered  how  I 
could,  for  he  seemed  so  awful  bashful.  Finally  a  very  bright 
idea  came  to  me.  I  had  heard  it  said  that  all  an  attractive 
young  girl  had  to  do  when  she  wanted  to  make  the  acquaint- 
ance of  a  young  man  on  a  train  was  just  to  try  to  raise  the 
window  and  then  make  believe  she  couldn't  do  it,  and  he  would 
do  it  for  her.  Do  you  know,  I  tried  it  !  It  worked  like  a  charm. 
That  young  man  rose  right  up  and  put  one  arm  back  of  me, 
and  one  in  front,  and  raised  it  for  me,  and  it  was  the  first  time 
a  young  man  ever  had  his  arms  around  me,  and  the  queerest 
sensation  came  over  me.  Oh,  it  was  just  too  lovely  for  any- 
thing !  Of  course  I  blushed  and  thanked  him,  and  we  rode 
along  until  the  wind  blew  pretty  strong  from  that  side  of  the 
train  ;  and  I  asked  him  it  he  would  please  put  it  down,  and  he 
repeated  the  same  business  with  his  arms,  and  the  same  sensa- 
tion came  back.  By  that  time  we'd  become  quite  well  ac- 
quainted, and  he  was  just  as  sociable — until  all  of  a  sudden  we 
rushed  into  a  tunnel.  You  know  it  is  just  as  black  as  night  in 
a  tunnel,  and  there  that  young  man  sat  close  beside  me.  Of 
course  I  couldn't  see  him,  and  I  don't  suppose  I  could  have 
helped  myself  anyway,  even  if  I'd  wanted  to.  We'd  only  been 
in  the  tunnel  for  a  minute  when  that  young  man — he — he — oh, 
I  don't  want  to  tell  ! 
Evan.    Oh,  do  ! 

Cyntha  [giggles).    Oh,  no,  I  don't  want  to  ! 
Evan.    Oh,  please  do  ! 
Cyntha.    Promise  you  won't  tell  ? 
Evan.    I  promise. 

Cyntha  (ad  lib.).    Well,  then  he   Oh,  I  dasn't  tell. 

Evan.    Oh,  do  tell ! 

Cyntha.  Well,  then,  he   (Motions  to  Evangeline  ;  she 

leans  up  ;  Cyntha  whispers  behind  her  fan.) 
Evan.    You  don't  say  so  ! 

Cyntha.  Yes,  he  did,  four  times  right  there.  (Puts  tip  of 
finger  on  her  lips.  Sings.) 

Song:  "An  Old  Maid."* 
I. 

Naughty  men,  just  look  before  you, 
Here's  a  maiden  to  adore  you  ; 
Listen  to  me,  I  implore  you, 
While  I  tell  my  tale  of  woe. 

♦Words  by  permission  of  the  author,  W.  B.  Leonard.  Piano  copy  of  the  music 
can  be  obtained  from  the  publisher  of  this  book,  or  from  The  W.  B.  Leonard  Co., 
Cortland,  N.  Y.   Price,  40  cents. 

U.  OF  IU.  U& 


12 


«  O  VER  THE  GARDEN  WALL."* 


I  have  just  turned  "  twenty-seven," 

And  my  heart  is  full  of  love  ; 
I  could  make  your  home  a  Heaven, 
Come  and  claim  your  little  dove. 
CrfORUS.    An  old  maid,  an  old  maid, 

That's  what  the  people  say  ; 
Although  I'm  very  fond  of  men, 

They  never  come  my  way  ; 
They  say  that  I'm  not  in  it 

And  look  better  when  alone, 
So,  sad  and  single  I  must  stay 
Till  angels  take  me  home. 

II. 

Very  well  do  I  remember  ; — 
It  was  one  night  in  September, 
I  was  sleeping  in  my  chamber ; 

With  a  start  I  quickly  woke. 
Cautiously  I  looked  around  me, 

Up  I  got  my  foe  to  rout  ; 
There  a  man  stood  just  before  me, 

But  I  didn't  turn  him  out. 
Cho.  An  old  maid,  etc. 
III. 

Now  a  word  before  I  leave  you  ; 
I  will  try  and  not  deceive  you  ; 
And  I  hope  I  do  not  grieve  you 

When  I  offer  you  my  hand. 
Won't  you  come  and  take  your  "tootsie"? 

Hush,  my  little  heart,  be  still ! 
I  will  be  your  little  "  wootsie," 
I'll  be  yours  for  good  or  ill. 
Cho.    An  old  maid,  etc. 

[She  disappears  behind  the  wall. 
Evan.    You  may  now  listen  to  one  grand  outburst  of  melody 
by  the  whole  chorus.    This  piece  was  rehearsed  under  the 
direction  of  Signor  Cantsingio,  the  great  Italian  musical  director 
and  composer.    {Calls.)    Are  you  all  ready  ? 
Chorus.    Ready  ! 
Evan.  Appear. 

Chorus  {appear  behind  wall  and  sing  the  old familiar  round, 
"  Scotland's  Burning,"  making  the  motions  as  stated  below. 
The  tune  is  familiar  to  everybody.  Divide  the  Chorus  into 
three  parts.  The  second  part  begins  after  "Scotland's  Burn- 
ing" has  been  sung  twice  by  the  first  part.  Third,  the  same. 
Sing  three  times'). 


"OVER  THE  GARDEN  WALL? 


Song. 

Scotland's  burning! 
Scotland's  burning  ! 

Look  out  !    {Look  r.    Shade  eyes  with  R.  hand.) 
Look  out  !    {Look  L.    Shade  eyes  with  L.  hand.) 
Fire  !    {Turn  R.,  right  thumb  and  finger  over  mouth.} 
Fire  !    {Turn  L.,  left  thumb  and  finger  over  mouth.) 
Fire  !    {Turn  R.,  right  thumb  and  finger  over  mouth.} 
Fire  !    {Turn  L.,  left  thumb  and  finger  over  mouth.) 
Cast  on  water  ! 

Cast  on  water  !  {Both  hands  extended  front,  palms  down% 
and  move  them  from  L.  to  R.    Disappear  behind  wall.) 

[For  an  encore,  which  is  always  demanded,  the 
Chorus  appear  and  sing  the  following,  to  the  tune 
of  -1  The  Old  Oaken  Bucket."    Sing  very  slowly. 

Song. 

Chcrus.    Old  Mother  Hubbard,  she  went  to  the  cupboard, 
To  get  her  poor  doggie  a  B-O-N-E. 
But  when  she  got  there  the  cupboard  was  bare, 
And  so  the  poor  doggie  had  N-O-N-E. 

[Disappear  behind  wall. 
Evan.    Little  Willie  Winkle,  the  infant  prodigy,  travels  with 
us  now.    He  is  Madame  Squallina's  eldest  of  six  children,  and* 
he  will  now  appear  in  dramatic  recitations.    {Calls.)  Little 
Willie  Winkle  ? 
Willie.    Ready ! 

Evan.    You  may  appear  and  recite  "The  Circus." 
Willie  {appears  in  front  of  wall.    Recites  in  a  very  drawly 
way.    Hands  in  pockets,  and  is  very  awkward  and  silly). 

»  The  Circus." 

Ma  said  if  I'd  be  awful  good, 

She'd  take  me  to  the  show  ; 
Our  hired  girl,  named  Sally  Rood, 

She  said  that  I  could  be  her  beau 
She  thinks  I  am  awful  silly, 

And  says  I'm  always  in  the  way  ; 
And  pa  says  I'm  gettin'  fooler 

And  fooler  every  day. 
Ma  says  I'm  just  from  Heaven  lent, 
And  some  day  I'll  be  president. 

Last  week  we  had  a  circus  here, 

It  was  the  talk  of  all  the  town  ; 
B»t  not  one  with  a  bear  or  deer, 

Or  ev'n  a  monkey,  or  a  clown. 


14 


"OVER  THE  GARDEN  WALL.9* 


Twas  free,  and  so  we  all  turned  out, 
You'd  thought  it  was  a  county  fair  ; 

The  Deacon  laughed  so  hard,  I  thought 
That  he  and  dad  just  made  a  pair. 

The  women  said,  "  Well,  I  do  vow, 
)  1  wonder  what  has  happened  now  !" 

When  first  we  see'd  the  people  run 

Dad  said,  he's  sure  it  was  a  fight, 
So  we  both  went  to  see  the  fun 

And,  gosh  all  hemlock,  what  a  sight ! 
The  crowd  had  gathered  round  the  store 

Just  like  they  do  on  circus  day  ; 
And  down  the  road  came  forty  more  ; 

While  just  behind  was  Deacon  Jay. 
He  pushed  along  right  through  the  crowd. 
And  then  he  burst  out  laughing  loud. 

Then  dad,  he  got  to  laughing  so 

That  we  all  thought  he  acted  rash  ; 
And  Charley  Green,  who's  quite  a  beau, 

Just  tried  his  best  to  make  a  mash. 
He  said,  "  I  tell  you,  she's  a  *  bute,'  " 

And  others  said,  "She  is  a  peach," 
When  dad  yelled  out,  "She  is  so  cute, 

Just  keep  her  out  the  Deacon's  reach." 
Then  some  one  said  from  out  the  crowd, 
"  I  shouldn't  think  'twould  be  allowed." 

I  was  too  short  to  see  the  show, 

And  wondered  what  the  men  did  see. 
So  I  says,  "  Dad,  I'd  like  to  know 

Whatever  can  a  circus  be  ?  " 
He  raised  me  up  ;  my,  what  a  sight 

I  then  did  see  a-standin'  there  ! 
She  looked  quite  "  fly,"  her  eyes  were  bright, 

And  down  her  back  was  yaller  hair. 
You  want  to  know  what  caused  the  fun  ? 
'Twas  just  a  gal  with  bloomers  on. 

[Makes  an  awkward  bow  and  EXIT. 
Evan.  You  will  now  be  highly  entertained  with  a  scene 
from  the  new  and  popular  opera  entitled  "  The  Mik-a-deau." 
The  "  Three  little  Maids  from  School  "  are  by  far  the  most  at- 
tractive of  all  our  ladies,  and  they  have  been  known  to  make  as 
many  as  seven  "impressions  "  on  the  gentlemen  in  the  audience 
in  one  evening.  Bum  Bum,  Pretty  Thing  and  Peek-a-boo  will  now 
appear.    {Calls.)    Little  girls,  are  you  ready? 


"OVER  THE  GARDEN  WALL: 


*5 


All.    Ready ! 
Evan.  Appear. 

[ENTER  from  R.  first  Peek-a-BOO,  then  Bum  Bum,  then 
Pretty  Thing.  All  must  run  on  tip-toe  atid  shake  the 
body  and  head  in  true  Japanese  style,  keeping  the  fan 
in  motion  all  the  time.  Note  :  Any  one  who  has  seen 
this  scene  in  the  opera,  "The  Mikado,"  can  appreciate 
this  burlesque  if  it  is  done  well,  for  it  is  the  hit  of  tht 
evening. 

Song:  "  Three  Little  Maids  from  School"* 

All  run  on  from  r.  and  stand  side  by  side,  holding  fans 
straight  out  in  front,  up  stage,  and  in  centre. 

ALL.  Three  little  maids  from  school  are  we. 

Pert  as  a  school-girl  well  can  be, 
Filled  to  the  brim  with  girlish  glee. 

Three  little  maids  from  school. 
Everything  is  a  source  of  fun, 
No  body's  safe,  for  we  care  for  none, 
Life  is  a  joke  that  is  just  begun, 
Three  little  maids  from  school. 

[Swing  from  L.  to  R.,  using  fans. 
Three  little  maids  who,  all  unwary, 
Come  from  a  ladies'  seminary, 
Freed  from  its  genius  tutelary — 
Three  little  maids  from  school, 
Three  little  maids  from  school. 
One  little  maid  is  a  bride,  Bum  Bum. 

[Runs  down  C. 
Two  little  maids  in  attendance  come. 

[Runs  down  R. 
Three  little  maids  is  the  total  sum. 

Runs  down  L. 
Three  little  maids  from  school. 
From  three  little  maids  take  one  away. 

[Runs  to  l.,  in  front  of  Peek-a-boo. 
Two  little  maids  remain,  and  they 

[Runs  R.,  in  front  of  Pretty  Thing. 
Won't  have  to  wait  very  long  they  say. 
[Runs  L.  of  Bum  Bum,  bringing  her  in  c. 
Three  little  maids  from  school, 
Three  little  maids  from  school. 

{EXEUNT,  R.,  after  song. 


Bum  Bum. 
Pretty  Thing. 
Peek-a-boo. 
All. 


Bum  Bum. 
Pretty  Thing. 
Peek-a-boo. 

Bum  Bum. 
Peek-a-boo. 
Pretty  Thing. 


*  Piano  copy  of  the  music  can  be  obtained  from  the  publisher  of  this  book  or  froiB 
The  Oliver  Ditsgn  Co.,  Boston,  Mass.    Price  60  cents. 


"OVER  THE  GARDEN  WALLS' 


Evan.  One  of  the  greatest  attractions  we  have  is  the  great 
English  Jersey  Lily,  her  real  name  being  Lily  Ann  Longtree. 
This  lady,  besides  being  a  great  English  beauty  and  actress,  is 
also  a  very  fine  elocutionist  and  sensational  writer.  She  always 
writes  her  own  recitations,  some  of  which  are  very  bloodcurd- 
ling, while  others  are  of  a  romantic  order.  She  will  now  pro- 
ceed to  give  you  her  masterpiece,  which  is  full  of  romance  and 
love.  It  is  entitled  "  The  Romance  of  the  Red-Headed  Girl 
and  The  White  Horse,  or  Love  at  First  Sight."  (Calls.)  Are 
you  ready,  Lily  Ann  ? 

Lily  Ann.    Ready  ! 

Evan.  Appear. 

[Lily  Ann  appears  back  of  wall,  in  centre%  and  re~ 
cites  the  following. 

«  The  Romance  of  a  Red-Headed  Girl." 
I. 

Once  upon  a  day  that  was  very  dark  and  dreary, 

A  stranger  wandered  down  the  street,  very  tired  and  weary  ; 

He  betook  himself  to  thinking, 

Fancy  unto  fancy  linking, 
Wondering  if  a  maiden  with  bright  hair  of  auburn  hue 
He  should  meet  there,  and,  just  then,  to  make  the  saying  true, 

A  white  horse  should  appear. 

II. 

Closely  did  he  eye  each  female,  as  they  passed  them  to  and  fro, 
From  her  pretty,  jaunty  bonnet,  down  unto  her  very  toe  ; 

Till  at  last  a  lovely  maiden 

(With  big  parcels  she  was  laden), 
And  the  bright,  soft  auburn  tresses,  underneath  the  hat  she 
wore, 

Caught  his  eye  ;  and  he  thought  as  he'd  thought  so  oft  before, 
•«  Will  a  white  horse  now  appear  ?  " 

III. 

Wrapped  was  he  in  admiration  as  he  gazed  at  her  sweet  face, 
Wreathed  by  auburn  tresses,  curling,  at  her  throat  some  dainty 
lace  ; 

On  her  head,  a  stylish  sailor, 

And  a  coat  made  by  a  tailor, 
On  she  treaded  and  he  followed,  keeping  her  within  his  view  ; 
And  he  couldn't  help  but  wonder  if  the  saying  would  prove  true, 

When  a  white  horse  did  appear. 


"OVER  THE  GARDEN  WALL"  17 
IV. 

Then  he  glanced  toward  the  maiden  ;  she  had  seen  the  horse 
appear. 

And  he  saw  the  crimson  blushes  on  her  cheeks  as  he  drew 
near. 

Then  she  looked  up  very  slyly, 
And  she  said  so  very  dryly, 
"  Don't  you  think,  sir,  I'm  embarrassed  just  because  I've  auburn 
hair, 

And  the  blushes  on  my  cheeks,  sir,  are  not  there  because  I 
care 

If  a  white  horse  did  appear." 
V. 

Her  voice  won  his  heart  completely,  and  he  asked  her  then  and 
there, 

If  his  home,  his  heart,  his  fortune,  she  would  only  come  and 
share. 

Then  they  walked  along  together, 
Never  minding  cloudy  weather. 
She  said  "Yes,"  and  they  were  married;  six  red-haired  chil- 
dren came  to  bless, 
And  the  stranger  now  is  kicking — that  is,  kicking  more  or 
less — 

Because  a  white  horse  did  appear. 

[EXIT  behind  wall. 

Evan.  Ladies  and  gentlemen, — I  cannot  express  to  you  how 
grateful  I  am  for  your  kind  attention  and  presence  here  to-night, 
and  ot  your  appreciation  of  our  humble  efforts  to  please.  It  is 
with  deep  regret  that  we  must  say  "Good-night,"  for  it  is 
almost  ten  o'clock  ;  and  it  is  a  rigid  rule  among  us  that  we  all 
get  our  "  beauty  sleep."  You  have  probably  wondered  how  we 
manage,  travelling  around  as  we  do,  to  keep  ourselves  as  beau- 
tiful as  we  are.     That  is  the  secret  with  us  ;  it  is 

Early  to  bed  and  early  to  rise, 

That  makes  us  all  healthy,  handsome  and  wise. 

The  whole  company  will  now  appear   in  one  grand  closing 
chorus.    {Calls.)    Are  you  all  ready  ? 
All.    Ready  ! 
Evan.  Appear. 

[All  appear,  some  in  front  of  wall,  others  behind  iU 
All  join  in  singing  the  old  college  song;,  "  Good' 
night,  Ladies." 


t8 


"OVER  THE  GARDEN  WALL." 


Song  :  "  Good-night,  Ladies** 

Good-night,  ladies,  good-night,  ladies, 
Good-night,  ladies,  we're  going  to  leave  you  now. 
Chorus.    Merrily  we  row  along,  row  along,  row  along 
Merrily  we  row  along — 

O'er  the  deep  blue  sea. 

CURTAIN. 


OVER   THE  GARDEN  WALL. 


19 


OVER  THE  GARDEN  WALL. 


Vivace 


Crl  trJr-fc?-t—  U>  I    ^  1  I —  ^1  1?" 


p      2  *  5:      £  *  S: 


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O  -  ver  the  gar-den  wall;     We  all  are  handsome  as  handsome  can  be, 


35 


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O- ver  the  gar-den  wall.  Perhaps  when  you  see  how  happy  are  we,  You 


OVER   THE  GARDEN  WALL. 


will  be  glad  that  we  gave  you  a  call ;  "While  the  soft  evening  breeze, 

We'll  try  hard  to  please  Blows 


« — 3r 


5  5  5* 


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Chorus. 


o-ver  the  garden  wall.       O-ver  the  garden  wall,    The  jolliest  folks  of 


g— fir— g-tt*.  r  i-c-grgs 


all,  There  never  was  yet  So  jolly  a  set,  And  you  can  bet  You'll  never  for- 


D.  S. 


i 


get  The  night  that  we  together  met      O-ver  the  garden  wall. . . . 


OVER   THE  GARDEN  WALL. 
AS  YOUNG  AS  I  USED  TO  BE. 


Kind  frie 

tids,come  listen 

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to  my  song, I'm  ( 

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hair, once  black, has  turn'd  all  gray, But  what's  the  odds  while  I  feel  gay?  How 


I   could  sing  a    song  of  glee  If        I  was  as  young  as  I  used  to  be. 

r  r  g  o 


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lap   de  do,    How  I     love  to  sing  for  you !  How 

■m  m- — 

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I   could  sing  a  song  of  glee,  If    I  was  as  young  as  I  used  to  be  ! 


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those  who  desire  a  fine  Military  drama.    Plays  two  and  a  half  hours 
PRICE  25  CENTS 

THE  PRISONER  OF  ANDERSONVILLE 

Military  Comedy  Drama  in  Four  Acts.    Ten  Maless  Three  Female* 
By  Charles  Walcott  Russell 

One  interior  scene,  three  exterior,  two  of  them  closely  similar. 
An  excellent  play  for  amateurs,  as  all  the  parts  are  good  and  evenly 
divided.  Five  comedy  parts  make  it  lively  enough  for  any  audience. 
The  leading  parts  are  strongly  drawn,  yet  easily  handled.  A  play  of 
the  Civil  War  that  will  arouse  no  ill-feeling  North  or  South.  Plays 
two  hours. 

PRICE  25  CENTS 

CAPTAIN  DICK 

Military  Drama  in  Three  Acts.    Nine  Males,  Six  Females 
By  Arthur  L.  Buzzell 
One  interior,  one  exterior  scene.     The  rollicking  blunders  of  an 
Irish  sentinel,  two  darkeys,  and  two  terrible  girls  evoke  roars  of 
laughter  whenever  they  appear.     Full  of  thrilling  incidents  ending 
in  a  blaze  of  glory.    Plays  one  and  a  half  hours. 

PRICE  25  CENTS 


ISABEL,  THE  PEARL  OP  CUBA 

Military  Melodrama  in  Four  Acts.    Nine  Males,  Three  Females 
By  Charles  Townsend 
One  exterior,  three  interior  scenes.    A  brilliant  melodrama  full  ot 
excitement  and  dramatic  interest.     Strong  characters,  thrilling  situ*- 
ations,  and  plenty  of  action.    Plays  two  hours. 

PRICE  25  CENTS 


A  LITTLE  SAVAGE 

Military  Comedy  in  Three  Acts.    Four  Males^  Four  Females 
By  Eleanor  Maud  Crane 
One  interior  scene.     The  action  takes  place  in  headquarters  at 
Fortress  Monroe,   and  abounds  with   dramatic  situations   while  the 
climax  is  admirably  worked  out.     Especially  recommended.  Plays 
two  hours. 

PRICE  35  CENTS 


VAUDEVILLE  SKETCHES 


THE  MATINEE  IDOL 

Vaudeville  Sketch  in  one  act.  One  Male.  One  Female 
By  Anthony  E.  Wills 
One  interior  scene.  A  young  stage-struck  girl  arranges  to  take 
iessons  from  an  elderly  actor,  who  in  earlier  days  was  a  popular 
Matinee  idol.  Her  crude  attempts  at  rehearsal  show  her  unfitness  for 
the  stage.  The  pathetic  narrative  of  the  old  actor's  gradual  descent 
from  eminence  to  obscurity  shatters  her  ttage  yearnings  and  per- 
suades her  to  resume  her  place  in  her  happy  and  prosperous  home. 
The  old  actor  is  a  fine  character  study.  Plays  about  twenty-five 
minutes. 

PRICE   15  CENTS 


DOLLY'S  DOUBLE 

Vaudeville  Sketch  in  One  Act.    One  Male,  One  Female  assuming  tum 

parts 

By  Charles  Stuart 
One  Interior  scene.    An  exceedingly  humorous  conception,  bright, 
catchy  and  original,  leading  through  several  stages  to  a  clever  climax., 
Plays  twenty  minutes. 

PRICE   15  CENTS 

JOHN'S  EMMY 

Vaudeville  Sketch  in  One  Act.  One  Male,  One  Female 
By  Charles  Stuart 
One  interior  scene.  A  methodical  old  bookworm  awaits  a  young 
girl  who  is  to  be  his  ward.  An  entirely  different  girl  arrives,  who 
summarily  subjugates  him.  The  action  is  rapid,  crisp,  and  full  of 
comicalities.  A  capital  character  study  fot-  both  performers.  Plays 
about  twenty  minutes. 

PRICE   15  CENTS 


BERNSTEIN  AND  FIRESTEIN 

Vaudeville  Sketch  in  Hebrew  dialect.     Two  Males 
By  James  F.  Parsons 
Exceedingly  funny  both  in  ludicrous  topics,  sheeney  hits  and  droit 
repartee ;  concluding  with  the  song,  "  Oh,  My !  Von't  We  Make  der 
Money ! "  for  which  the  text  and  music  are  given.     Plays  fifteen 
minutes. 

PRICE   15  CENTS 

"  TWO  WANDERING  JEWS 

Vaudeville  Sketch  in  Hebrew  dialect.    Two  Males 
By  Harry  E.  Shelland 
Full  of  funny  and  catchy  dialogue  and  repartee,  and  ending,  with 
a  song.    Plays  about  fifteen  minutes. 

PRICE  15  CENTS 

~MTJLDOON  AND  THE  NIGGER  •  OR,  WHITE  AND  ' 

BLACK 

Vaudeville  Sketch  in  One  Act.    Two  Males 
By  Harry  E.  Shelland 
Muldoon,  an  Irish  stage  manager,  meets  very  suddenly  Johnson,  S 
darkey,  whom  he  wished  to  engage  as  an  actor  in  a  Mephistopheles 
drama.    After  a  lot  of  funny  characteristic  talk,  they  rehearse  John- 
son's part.    After  some  ridiculous  attempts  at  highfalutin'  tragedy, 
partly  in  very  blank  verse,  Johnson  collapses.    They  close  with  a  song. 
PRICE  15  CENTS 


^  VAUDEVILLE  SKETCHES 

FINNEGAN  AND  FLANAGAN 

Farce  in  One  Act.    One  Male,  One  Female 

By  W.  C.  Parker 
No  scenery  required.  Finnegan  has  a  smile  as  broad  as  the  Lak«i 
of  Killarney,  and  Mrs.  Flanagan  has  "  the  force  as  well  as  the  fancy.** 
His  quiet  utterances  and  her  awkward  mannerisms  are  droll  in  the 
extreme.  The  "  business "  is  excruciatingly  comic,  and  the  lucky 
liquidation  of  an  unpaid  board  bill,  concludes  one  of  the  funniest  of 
Irish  farces.  Specialties  can  be  introduced,  or  the  piece  may  be 
played  "  straight."    Plays  twenty-five  minutes. 

PRICE  15  CENTS 

AFTER  THE  BALL 

Vaudeville  Sketch  in  One  Act.    One  Male,  One  Female 
By  Harry  E.  Shelland 
One  Ulterior  scene.    A  bright  dialogue  between  a  youth  and  a  girl 
of  the  old  Bowery  pattern,  with  disjointed  remarks  and  repartee, 
affording  opportunity  for  song  and  dance  or  other  specialties.  Plays 
twenty  minutes  or  longer,  according  to  specialties  introduced. 
PRICE   15  CENTS 


A  CHEERFUL  COMPANION 

A  Duologue.  Tico  Females 
Adapted  from  a  character  sketch  by  Ina  Leon  Cassilis.  Parlor 
Scene.  A  lady  of  refinement  advertised  for  a  cheerful,  musical  com« 
panion,  a  good  reader.  She  has  one  applicant  who  proves  to  be  tear- 
fully doleful,  garrulous  over  love  failures,  and  an  unmitigated  bore* 
A  fine  scope  for  character  delineation.  Plays  twenty-five  minutes. 
PRICE   15  CENTS 

"          PAPA'S  BULLDOG 

Vaudeville  Sketch  in  One  Act.  One  Male,  One  Female. 
By  W.  C.  Parker 
The  hero  tries  to  "  coach  **  his  sweetheart  in  some  private  theatri- 
cals. Her  ignorance  exasperates  him  so  completely  that  a  furious 
quarrel  ensues.  Unexpected  consequences  convince  each  that  the 
other  is  crazy,  and  the  fun  is  brought  to  a  cyclonic  climax  by  the 
Intervention  of  Papa's  bulldog.  The  piece  can  be  played  "  straight," 
or  specialties  may  be  introduced.    Plays  thirty  minutes. 

PRICE   15  CENTS 


THE  NEW  CHAUFFEUR 

Vaudeville  Sketch.     Two  Males 
By  Harry  E.  Shelland 
A  Dutch  brewer  hires  an  ignorant  Irishman  for  chauffeur.  A 
terrible  catastrophe  and  a  racy  dialogue  in  which  Pat  gets  the  bette* 
of  the  Dutchman.     Just  too  funny  and  leading  up  to  dialect  mii> 
strelsy.    Plays  about  fifteen  minutes. 

PRICE  15  CENTS 

RAPS 

Vaudeville  Sketch  in  One  Act.    Two  Males 
By  Eleanor  Maud  Crane 
One  Interior  scene.     An  exceedingly  bright  dialogue  between  as 
Irish   carpenter  and  a  slightly   intoxicated   gilded  youth.     Full  of 
Spatter"  and  "get  backs."    Plays  about  thirty  minutes. 

PRICE  15  CENTS 


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wwwwvwvwwwwwwwwwws 


UNIVERSITY  OF  ILLINOIS  —  URBANA 


N30112045502546A 


